Sarabandes Part 3 (still regarding Sarabande I)

BWV 1007 4.Sarabande
I wanted to mention that in comparing arrangements, my findings are not always based on my limited collection. At times i’ll source other editions either come across via IMSLP or library, etc. and do keep in mind I always add to my collection.. so there.

Edmund Kurtz’s edition is very interesting. He tried his best to interpret the original Anna Magdalena (well… one of them) manuscript, slurs and annotations and replicate them as “accurately” as possible. I put this word in quotations because IMHO and other cellists’, Ms. A M Bach was careless and a dingbat, if I may say so.
Her slurs are careless and thoughtless and she is sometimes inconsistent in countless details. This will continue on another blog, another day. in volumes, because one entry could not clearly express my exasperation for Bach’s idiot wife.

A detail I cannot leave unsaid, is that his copy seems to be the only one ive ever seen (again, see italicized disclaimer.) that has a trill in the A, rather than the B in Measure 11.
In other (pretty much everyone else’s) editions, the trill falls on the B:
ends up sounding like this

the trill, being on a longer note this time around, has time to relax, or be an even longer trill.

So looking at Kurtz’s/A.M. Bach’s edition,
here is Kurtz’s edit:
When looking at Mrs. Dingbat’s manuscript, its a little of a grey area.
Because (or so I think) the tr… annotation (highlighted) falls in between B and A, it ends up in the favor of the latter, as its the next note up, so perhaps, if the trill was supposed to be for A, it was a heads-up, or just Mrs. Dingbat’s sloppiness. you pick.
when written like this, it can be played like this:

I am personally neutral over this and don’t mind either way.

I see this piece in two interpretations at the very least, based on the given dynamics, if dynamics are given at all: (sidenote most arrangements don’t give much in way to Dynamics markings)

Here (Becker) it is suggested the piece begin Forte and end forte:
Here, its as if the first chords are heaving sighs of relief. Relief from what? maybe fatigue dramatically expressed from the nonstop feel of the 3 pieces before? A shout of joy for the opportunity to slip into sexy-mode for the dance from hell? (see )
At any rate, heres how it ends up:

This arrangement (Gaillard) suggests the opposite, start and end quietly:
ends up sounding subtle, but the triple-stops are difficult to hold as solid chords–they spread out and give a more delicate feel that seems as if the notes are walking on eggshells.

Also in regards to dynamics, there is a universal pattern, where all triple-stops are played with a down-bow, except the second one played (see either clip directly above regarding the opening measure).
My absolute favorite is in measure 13. the “meek” one. The notes before the ‘big chord’ vary in bow direction, and I personally prefer the upward bow until the triple-stop.

here is the counterpart:

Dingbat’s manuscript shows a slur following the first note, making it most likely a down bow to begin the leading notes (example 2).
I promise I did not choose the opposite to antagonize and express how annoyed I get with Anna Magdalena Bach.
I reserve that hostility for Buxtehude’s Daughter.